Artist Statement

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​My work reflects the perceptual and emotional shifts of existing in-between—between cultures, meanings, and time. Raised across Asian and Western contexts, I became attuned to states of ambiguity where forms, memories, and symbols remain fluid, dissolving and re-emerging over time. Painting became a way of belonging—not through resolution, but through ongoing exploration. It allows me to stay within that shifting space, where meaning isn’t fixed but continuously unfolds.

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I work on absorbent papers using pigments, gouache, watercolor, and acrylic ink. Each painting begins without predefined structure, evolving through intuitive washes, translucent layering, and recurring white veils. White appears both as atmosphere and as form—sometimes softening the field, sometimes shaping symbolic presences such as goldfish, gourds, petals, or bonji-like marks. These elements are not illustrative; they emerge as rhythmic, contemplative forms shaped by memory, cultural resonance, or spiritual reflection. Their meanings remain open—formed in the act of looking, rather than imposed.

 

This process—what I call “art of a thousand times” (千百回絵)—is a sustained visual dialogue, where gestures, forms, and atmospheres recur, disappear, and return across time in altered ways. My visual vocabulary accumulates slowly, not through fixed style, but through rhythm and transformation. Color fields hold structural and emotional weight, built through layering to suggest depth without heaviness. Contradictions often emerge: presence and erasure, gesture and stillness, clarity and dissolution.

 

Rather than depict reality, I explore the convergence of the material and the intangible—the seen and the felt. By embracing restraint and impermanence, I aim to create contemplative spaces that remain open to the viewer’s perception, where meaning can shift, dissolve, or reappear over time.